The ripple effects of incarceration in the United States have rarely been discussion points in film. Applying this to Black American experiences, it’s even more limited. Here to change that with his feature-length debut is Rashad Frett. Ricky sees a 30-year-old Black man newly-released from prison after 15 years. His freedom comes with the challenges of navigating a life away from violent criminals in a complex and unfamiliar world.

A film of this nature contains a heightened importance in a way that puts a great deal of responsibility on the filmmakers. To explore the issue of recidivism is to talk about the broken system in a way that demonstrates its unfairness without also relieving its victims of accountability. It’s a slippery slope to pursue—one that plenty of filmmakers have yet to touch in their careers. Yet, right out of the gate, Frett and company were up to the task. Though this project came with hefty complexities, the director never took the easy way out. Instead, he answers the call with vulnerability and unfiltered humanity.

To put it plainly, Frett has a natural talent for filmmaking. Even from the opening minutes, the director, along with screenwriting partner Lin Que Ayoung, wastes no time inviting us into Ricky’s newfound complicated freedom. Just a few weeks out of prison, reintegrating into society proves to be challenging. Ricardo “Ricky” Smith (Stephan James) struggles to get to his new job because he doesn’t have a car, and his younger brother James (Maliq Johnson), feels his transportation requests are too big of favors.

Ricky comes riddled with vulnerability & unfiltered humanity.

Arriving late to his meetings with his parole officer, Joanne Scott (Sheryl Lee Ralph), is also a habit he simply cannot break. And it doesn’t help that he refuses to attend meetings for ex-offenders. With all these inconveniences stacked against him, one could almost argue that he’d seem more comfortable going back to prison. After all, Ricky has difficulty connecting with other adults, manifested by his failure to make eye contact in conversations and amplified social awkwardness around women.

This is not a guy who wants to return to prison at all, however. He is simply struggling because from the age of 15, all he knows is to mistrust people. Even the very circumstance that led to Ricky’s imprisonment (which we find out later in the film) is enough to help us understand why he’s emotionally stagnant and reticent. Having been surrounded by violent criminals for so long, since he was just a teenager, put a mental strain on Ricky that his family and friends cannot comprehend.

All of these things make Frett’s feature debut so special. As a cherry on top, the director drew from his own experiences living in a small town in Connecticut. The result is an end product from a director who truly understands the difficulties of life after incarceration. This doesn’t just apply to the incarcerated, it applies to their families as well. In this case, that’s also Ricky’s mother, played by Simbi Kali who gives a stunning emotional performance. Through this work, Frett and the cast invite us in to show true empathy.

Stephan James continues to impress with his star power.

As Ricky, James is a revelation. Forced to work through a lot of quiet moments on screen, his performance bares exceptional strength and emotional agility even when there’s no dialogue. James plays his character beautifully, offering childlike gazes and confusion when needed to reflect the mindset his character is in (especially since he hasn’t been part of society since he was 15). Ralph as Joanne is also a marvel, stealing every scene she’s in with fervor and tenacity, to get through to Ricky.

Director Rashad Frett has paved the way for us to have serious conversations about prison reform and reducing recidivism. Using elegant storytelling with such a sensitive topic led to a meaningful story that helps us to understand the challenge of rediscovering oneself after prison. With authenticity, Frett directed an emotionally rich tale about second chances. The film is riddled with unfiltered performances and superb framing, solidifying Frett as a rising star behind the camera.